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The BBC Swahili Service is one of the largest language services in the BBC World Service. It produces very successful radio programmes and is now looking to move into TV. It also has a multiplatform website and video, interactive and audio content. Staff are located in London, Nairobi, Dar Es Salaam and in other countries in Africa.

The service’s output aims to make international news relevant to an East African audience, and bring international perspectives to bear on East African developments. It aims to report in a lively and engaging fashion.

ORGANISATION

Working in a multimedia team of journalists and reporting to a line manager. On a daily basis, reporting to Senior Broadcast Journalist as appropriate. Shift work is required which will include nights, weekends and public holidays.

JOB PURPOSE

To originate, research, prepare, produce and present items, reports, packages, interviews, discussions, complete programmes, background pieces, analysis and news features. To report in audio, text and video from the field in a range of formats. To ensure that any output material for which the post holder is responsible meets the standards required by the BBC.

LOCATION: Nairobi

MAIN DUTIES

1. To research, report, write, translate, edit and adapt stories or programme material; to find contributors and interviewees as well as other sources of material and/or actuality, as appropriate and to the required specification whilst maintaining professional journalistic standards of accuracy, impartiality and fair dealing and adhering to the BBC Editorial Guidelines. To ensure the availability of required production facilities.

2. To write and create original material for all multimedia output, including text stories, radio bulletins, mobile phone bulletins and with appropriate training video reports.

3. To create, produce and maintain Swahili Service online and multimedia content including making output interactive.

4. To be responsible for a moving story, amending and updating material as required. To be able to freshen a story. To be responsible for thinking through and around editorial problems, developing realistic alternative strategies and approaches.

5. To offer ideas for items, programmes/series and to actively contribute to the editorial planning process. To suggest new angles on existing stories, means of moving the story on, and to put forward stories not yet covered. To understand the Service’s strategy and to suggest ideas appropriate to its distinctive style and content.

6. To perform live on audio or video with or without a script, live or in recording sessions; either as programme producer, or as a participant in others' productions.

7. To conduct interviews either in the studio or on location, live or pre-recorded.

8. To liaise closely with other team members and with contributors, reporters and stringers. To advise other parts of the BBC on target area affairs.

9. To ensure that BBC Editorial Guidelines and all relevant legal, contractual and copyright requirements are met, referring upwards in cases of difficulty or doubt.

10. To build and maintain links with other areas of the BBC including BBC Online, BBC News to enable the efficient production of content.

11. To offer ideas for items, programmes/series and to actively contribute to the editorial planning process. To suggest new angles on existing stories, means of moving the story on, and to put forward stories not yet covered. To understand the Service’s strategy and to suggest ideas appropriate to its distinctive style and content.

12. After appropriate training, to be able to use a range of audio & digital equipment and information technology to research, write, assemble, edit and deliver programmes in the appropriate medium, to the highest professional standards.

13. To be responsible for efficient use of allocated resources.

14. All producers may be required to travel off base on short reporting trips and assignments and to spend longer periods of time in the target area.

15. All producers may be required to work with or move to other programme teams on a multi-media basis and to have the ability to work across a range of skills and in a flexible manner, and to carry out these responsibilities in accordance with the BBC’s overall standards and values. To provide advice or file pieces, etc, on occasions to other BBC outlets.

KNOWLEDGE, SKILLS AND EXPERIENCE

• An outstanding command and up to date knowledge of Swahili as first (or equivalent) language.

• An excellent knowledge of English including complete comprehension of written and spoken English and the ability to communicate effectively.

• Substantial recent and relevant full-time experience as a journalist, both in originating material and editing the work of others.

• Ability to write, adapt and translate with accuracy, clarity and style appropriate to differing audiences and forms of media.

• A good broadcasting voice and the ability to acquire the appropriate presentation style of the network.

• Experience of reporting, in the field, on international and/or Swahili-speaking political and economics issues. Able to demonstrate a good range of contacts for interview purposes including political and economic analysts, politicians, etc.

• Good keyboard/computer skills and the ability to acquire technical skills and to operate technical equipment. Practical experience and extensive knowledge of the internet and an understanding of the potential of new technology is essential.

• Wide and up to date familiarity with the target area and an in-depth understanding of its history, politics, social issues and culture as well as the changing needs of the audience.

• A thorough knowledge and understanding of news and current affairs and the media situation in the target area. A good knowledge of, and interest in international current affairs, particularly insofar as they affect the target area/s.

COMPETENCIES
The following competencies (behaviours and characteristics) have been identified as key to success in the job. Successful candidates are expected to demonstrate these competencies.

• Editorial Judgement - demonstrates balanced and objective judgement based on a thorough understanding of BBC editorial guidelines, target audience, programme and department objectives. Makes the right editorial decisions, taking account of conflicting views where necessary.

• Commitment to the BBC and the BBC Swahili Service strategy – demonstrates an interest and willingness to help the BBC achieve its objectives in the target area.

• Creative Thinking - able to transform creative ideas into practical reality. Can look at existing situations and problems in novel ways and come up with creative solutions.

• Planning and organisation - able to think ahead in order to establish and efficient and appropriate course of action for self and others. Prioritises and plans activities taking into account all the relevant issues and factors such as deadlines, staffing and resources.

• Communication - able to get one’s message understood clearly by adopting a range of styles, tools and techniques appropriate to the audience and the nature of the information.

• Influencing and persuading - able to present sound and well reasoned arguments to convince others. Can draw from a range of strategies to persuade people in a way that results in agreement or behaviour change.

• Managing relationships and team working - able to build and maintain effective working relationships with a range of people. Works co-operatively with others to be part of a team, as opposed to working separately or competitively.

• Resilience - manages personal effectiveness by managing emotions in the face of pressure, set backs or when dealing with provocative situations. Demonstrates an approach to work that is characterised by commitment, motivation and energy.

• Flexibility - adapts and works effectively with a variety of situations, individuals or groups. Able to understand and appreciate different and opposing perspectives on an issue, to adapt an approach as the requirements of a situation change, and to change or easily accept changes in one’s own organisation or job requirements.

CONTACT INFORMATION:

For submissions: apply here

Website: http://www.bbc.co.uk/swahili/

Deadline: 22 July 2011

Win the chance to write for Cambridge University Press, along with a cash prize of £1000

Have you developed an innovative and engaging way to assess your learners' progress as they learn English? Have you successfully used this material in your classroom?

The inaugrual Cambridge ESU New Writing Award (2011) for ELT will focus on materials that help teachers and students assess their learning.

Each year, the award will focus on a different area of language learning. We are looking for evidence of applicants' writing style and capabilities, along with a demonstration of how the materials improve learning outcomes, with a view to inviting the winner to join our team of authors. Cambridge University Press will not necessarily publish the winning material itself.

We particularly welcome applications which show an understanding of how digital resources can help learning.

Applicants should submit the following:

1. An outline of your materials; what they are, howe they are to be used and how they use assesment to improve students' learning (Max 250 words)

2. A sample of the material (Max one double-page spread or equivalent)

Pleae note: Applicants do not have to be native speakers of English, nor do they have to be speakers of British English. An understanding of, and sympathy with, the globalization of English is an essential requirement. You should be able to work as part of an author team, and be confident at presenting your material to a variety of people.

Submit your entry, along with your contact details (name, address, email address and telephone number) to education@esu.org.

If you would prefer to submit your entry by post, please send all documentation to:

New Writing Award
Education Department
The English-Speaking Union
37 Charles Street
London W1J 5ED
United Kingdom

ESU New Writing Award: Competition Rules

1. This competition is run by the English-Speaking Union and is sponsored by Cambridge University Press.

2. The competition is open to entries from around the world. You do not need to be a native speaker of English, nor a speaker of British English.

3. Entrants should be at least 18 years old. Only one entry per person.

4. To enter please submit:

(i) an outline of your English Language Teaching materials (‘the Material’) (including information of what the Material is, how it is to be used, and how it uses assessment to improve students’ learning);

(ii) a sample of the Material (a maximum of one double-page spread or equivalent);

(iii) contact details, including name, email, address and contact number.

5. The deadline for entry to the competition is 22nd July 2011.

6. The winner will be selected by a panel of judges comprised of experts selected by Cambridge University press and the English-Speaking Union.

7. The winner will be contacted by the English-Speaking Union after the closing date. The winner will be publicly announced at the English-Speaking Union award ceremony.

8. The winner will receive a cash prize of £1,000, or payable in equivalent local currency at Cambridge’s sole discretion, and shall be given the opportunity to join the team of English Language Teaching authors working for Cambridge University Press, with the potential to author future English Language Teaching courses for Cambridge University Press, subject to any author contract and terms and conditions to be determined at the time.

9. The Material shall be original to you; shall not have been previously published; shall contain nothing that is in any way an infringement of any existing copyright or licence; and shall contain nothing libellous or unlawful.

10. Cambridge University Press and the English-Speaking Union will destroy all Material that is not selected as winning Material. Cambridge University Press will not be able to return any unsuccessful Material to you.

11. Cambridge University Press and the English-Speaking Union will not publish or make any other use of the Material without your prior consent.

12. Employees of Cambridge University Press, the English-Speaking Union and associated companies will not be eligible to participate.

13. By entering the competition you are permitting Cambridge University Press to contact you from time to time with details of other products and services that may be of interest to you in the subject of English Language Teaching.

14. By entering the competition you are permitting the English-Speaking Union to contact you from time to time with details of other products and services that may be of interest to you in the subject of English Language Teaching.

15. By entering the competition you are permitting Cambridge University Press to transfer your personal details to other Cambridge University Press branches throughout the world, namely Europe, America, Australia and Asia. You should be aware that some branches of Cambridge University Press are in countries which do not have data protection laws.

16. By entering the competition you are permitting other Cambridge University Press branches to contact you from time to time with details of other Cambridge products and services that may be of interest to you in the subject of English Language Teaching. However Cambridge University Press will only share your data with another branch if it best covers your normal place of residency (e.g. Europe, Americas).

17. Cambridge University Press will not sell your personal information to others or release it to others without your prior consent, and will only use your personal data as outlined in our privacy policy (see: http://www.cambridge.org/policy/privacy/ ).

18. The English-Speaking Union will not sell your personal information to others or release it to others without your prior consent, and will only use your personal data as outlined in its privacy policy.

19. Cambridge University Press reserves the right, at the discretion of its official representatives, to declare any competition null and void and stage another competition in its place.

20. Entry into this competition constitutes acceptance of these Terms and Conditions.

21. These terms and conditions are governed by the laws of England.

Contact Information:

For inquiries: education@esu.org

For submissions: education@esu.org

Website: http://www.cambridge.org/ph/elt/

(Note: Individuals should ascertain their eligibility to work in the UK in this post before applying for a London based job with Amnesty International by using the points based calculator at http://www.bia.homeoffice.gov.uk/pointscalculator.)

As a research-based campaigning organization, investigating and documenting human rights issues is fundamental to our advocacy and lobbying work. Our West Africa team requires a researcher to take the lead in initiating human rights research and action by providing regional and thematic expertise, excellent research skills and sound political judgement. A campaign oriented approach to your work is essential. You will be required to conduct and co-ordinate research activities, monitor, investigate and analyse political, legal and social developments and human rights conditions, give authoritative advice on these areas and prepare human rights action materials.

TITLE: Researcher, Nigeria

ABOUT YOU:

With experience of working on human rights issues, you must have first-hand in-depth knowledge and experience of Nigeria and experience of working on economic, social and cultural rights issues. You’ll have a background in activism, academia, law or journalism with the ability to identify and thoroughly investigate those issues and ensure our voice has authority. You will need proven research and communication skills, impartial political judgement, coupled with strong strategic thought. Fluency in English is essential, including excellent writing skills.

ABOUT US:

Our aim is simple: an end to human rights abuses. Independent, international and influential, we campaign for justice, fairness, freedom and truth wherever they’re denied. Already our network of almost three million members and supporters is making a difference in 150 countries. And whether we’re applying pressure through powerful research or direct lobbying, mass demonstrations or online campaigning, we’re all inspired by hope for a better world. One where human rights are respected and protected by everyone, everywhere.

JOB PURPOSE:

As Amnesty International's lead expert on specific countries or other geographical or thematic areas, to lead on the development and implementation of overarching research and campaigning strategies to deliver impact in relation to agreed priorities, providing research expertise, research management, political judgment and analytical, communication and representational skills.

WORKING RELATIONSHIPS:

Reporting to - Programme Director / Deputy Programme Director

Posts that this job manages - This post has no line management responsibility. However, the researcher participates in the coordination of the work of the team, other participants in research and campaigning projects, temporary staff and team volunteers.

Other key relationships - The researcher works in close collaboration with the campaigner and the research and campaign assistant and, where relevant, other posts in the International Secretariat and in the Amnesty International movement.

JOB DESCRIPTION

To lead on the development and implementation of overarching research and campaigning strategies to deliver impact in relation to agreed priorities on specific countries or other geographical or thematic areas, including strategies to identify the most effective ways to address human rights concerns; and to lead on designing specific projects and producing, implementing, monitoring and evaluating plans for both these and initiatives originated by others

To monitor, research, investigate and analyze human rights-related developments in order to provide timely, accurate, independent and impartial assessments and expert advice on the human rights situation in the relevant countries or other geographical or thematic areas

To organize, take part in and lead, where agreed, field research and other missions, leading specifically on information-gathering, fact-finding, analysis and assessment of human rights concerns, including in response to crisis situations; prepare, where necessary, security assessments, political and other briefings in relation to the mission for International Secretariat management, mission participants and internal or external stakeholders; and represent Amnesty International in the field

To represent Amnesty International to external stakeholders, including in governmental, inter-governmental and various public forums, as well as to all forms of news media, civil society organizations and political, economic and other actors; and to communicate Amnesty International's concerns, positions and, where relevant, campaign strategies to external and internal stakeholders

To develop and maintain effective constituencies of public and confidential contacts and partners in and outside the organization - such as human rights activists, members of legal and other professions, United Nations agencies and governmental representatives - to optimize information gathering and verification and the development and implementation of effective strategies and plans

To write reports and other materials for publication and internal use and contribute to and provide expert advice in relation to written and other materials produced by other programmes

To manage research, oversee the research work carried out by the team and others and, as appropriate, to contribute to the selection of external consultants and supervise, support, coordinate and provide expert advice on their work

To contribute to the development and maintenance of an effective information management system

To contribute to the development of programme-wide strategies and plans for research and campaigning and provide input into internal discussions on the Amnesty International mission, policy, organizational and other issues in order to increase the effectiveness of Amnesty International's work

In consultation with management, to participate in the coordination of the work of the team, including through setting priorities, preparing work plans, monitoring their progress and contributing to maintaining basic budgets

To contribute to the overall flexibility of resource use and provide cover for other programme staff as agreed with management

To perform all necessary administrative tasks to ensure effective self-servicing, participate in the recruitment and induction of new staff and consultants and perform other corporate tasks as appropriate.

WHAT DOES SUCCESS LOOK LIKE IN THIS JOB?

A successful researcher will have developed and implemented an effective and deliverable strategy on the countries, other geographical areas or themes in her/his brief; produced, implemented, monitored and evaluated related action plans within set deadlines; practised rigorous analysis and identified critical issues in a timely fashion; maintained and developed effective networks and written high quality reports and other materials for publication and internal use; and effectively represented Amnesty International and communicated its key messages.

S/he will have contributed to the effective functioning of the team, and to the implementation of Amnesty International's mission, upholding Amnesty International's values at all times.

SKILLS & EXPERIENCE

Proven experience of undertaking research on human rights or related issues with an ability to develop effective strategies to impact on human rights in the region;

Specialist knowledge and preferably first hand experience of the geographical and/or thematic areas in your brief and an in-depth understanding of the nature of key human rights concerns, as well as political, social, legal, economic, cultural, ethnic, racial and gender issues in them;

Ability to exercise good political judgment, thorough analysis and diplomacy;

Ability to represent Amnesty International to external stakeholders; and to communicate Amnesty International's concerns, positions and, where relevant, strategies to external and internal stakeholders;

Proven experience of writing research materials for a variety of audiences;

Ability to understand and express ideas in English and, where applicable, other relevant languages, in a fluent, clear and concise way, both orally and in writing; draft text in a variety of styles, e.g. documents such as substantial reports, government correspondence and media and action materials;

Ability to deal in a sensitive and understanding manner with a variety of people, including survivors of human rights violations and others who may be distressed;

Experience of working in a team and understanding of the importance of efficient communications for the coordination and effective functioning of teams;

Demonstrated commitment to human rights, e.g. through previous work, membership of an organization, involvement in advocacy of human rights, etc.;

Experience of managing conflicting demands, meeting deadlines and adjusting priorities;

Ability and willingness to undertake personal administrative tasks in accordance with Amnesty International's guidelines on self-servicing;

Understanding of equal opportunities, cultural diversity and gender issues as well as a commitment to apply relevant policies;

Terms and Conditions Salary: Full time salary of £41,124 per annum (pro rata for part time staff)

HOURS: 35 hours per week

LOCATION: London with possibility of relocation to the global south or east at a later date

CONTRACT DURATION: Fixed term contract of two years in duration

HOLIDAYS: Full time staff receive 27 days per annum plus two Amnesty International grace day and statutory and national public holidays.

OFFICE HOURS: 09.30 - 17.30 or 10.00 - 18.00 by arrangement

LIFE INSURANCE: Amnesty International provide a Death in Service benefit of 4 x gross salary.

PENSION: After six consecutive months of service staff are automatically enrolled in the Amnesty International Superannuation Scheme. This is a defined contribution to which Amnesty International contributes 7.5% of gross salary and will match individual employee contributions up to an additional 3%.

PROBATION: A six month probation period will be included in the contract for this position.

RELOCATION: A relocation assistance package will be available for staff members (and their dependents) recruited from over 80km/50 miles from the International Secretariat office in which the post is based.

HEALTH AND SAFETY: All staff are required to comply with Amnesty International's policy and rules relating to Health and Safety and its security regulations at work.

EQUALITY STATEMENT: Equality and diversity is at the core of our values and staff, volunteers and interns are expected to work collectively and individually to promote a constructive and sensitive approach to others from a variety of backgrounds, where the work of others is valued and respected.

CONFLICT OF INTEREST: Public or other activity, affiliation to or support for any group or organization, personal association or other factor which may generate a real or perceived conflict of interest with AI's principles (specifically independence and impartiality), or raise a security concern, or otherwise prevent the candidate from carrying out key functions of the specific post and would therefore disqualify the candidate from being appointed.

CONTACT INFORMATION:

For submissions: via Amnesty International's career site here (search for keyword 732BR)

Website: http://www.amnesty.org/

Writers, like all creative professionals, always have room for improvement and development. Even acclaimed or widely published authors may find themselves hitting a creative wall at some point in their career. While writing obviously requires many attributes that go beyond concrete techniques, such as skillful use of intuition and a sense of the reader – many characteristics of a good writer are also well within the realm of craft. Following are some craft pointers and exercises that both beginning and established writers can use to grow their writing skills:

• Read Widely – Reading as much as possible with as much variety as possible is a prerequisite for writers of all stripes. Perhaps you are already “well-read” but in what sense? Perhaps you have read all the classics, but there is still much to be learned in the ways of sentence structure, diction and the human condition. Consider reading periodicals or genres that are outside your normal reading material. If you write primarily realistic fiction, pick up a book of abstract stories. Inspiration can be found in trade journals, science fiction, nonfiction journalism, and nearly all types of reading material.
• Utilize a Dictionary – If you find yourself using the same words and images in your work, it may be time to refresh your vocabulary. Most writers have a wide vocabulary, but they may be prone to using some words more than others out of habit. Find a quality dictionary and spend some time going through it. Look for words that are common, but that you rarely use in speech or in your work. In this way, you will add fresh language to your work, without it sounding stilted or overdone.
• Set Deadlines and Schedule Writing Time – Perhaps your writing struggles stem from an issue of motivation or structure. Since writing is a vocation of choice for many people rather than a traditional job, it can be difficult to complete projects in a timely manner. Practice setting deadlines for pieces of writing that you are working on; allotting a particular time every day to write or a particular word count to complete, can also act as motivation. Examine literary journals from art colleges or writer’s websites for writing competitions you can enter. The hard deadline of a competition can motivate you to work.
• Examine Sentence Cadence – Even if you are not a poet, you should take some time to examine the cadence of the sentences in your work. The stressed and unstressed syllables in your sentences may make your work read faster or slower, depending on their placement. They can also make sentences flow more easily or make them sound halting and displeasing to the ear. It also makes sense to pay attention to the length of your sentences. Short sentences are more urgent and punchy, while long ones can add a flowing effect.
• Use the Tools of Plotting – Consider how you normally plot your work, if you are a writer of short stories or novels. Changing up the plotting tools you use can add new insight to your writing. Many writers generally start their stories from the ending or from some traumatic beginning event. Others do not work with causal events at all, but instead start with a particular philosophical idea. Still others intersperse non-causally related incidents to form a rich texture. Whichever device you normally use to structure a story, consider a different approach, even if you only use it as an exercise.
• Get Academic Support – Pursuing an academic degree in writing or even enrolling in a single class can also serve to improve your writing. While a formal education is not necessary to become a writer, the advice and guidance of an experienced writer can help the new writer gain traction and realize key themes apparent in their work.

University of Illinois at Urbana-Champaign – The Center for Writing Studies (2012)

Jerz’s Literacy Blog (2011)

Date: 3 April 2012

You are cordially invited to presentation of the Poetry Segment of the Lagos Black Heritage Festival, LBHF, on Tuesady (April 3, 2012) at the Freedom Park, Broad Street, Lagos, at 6pm.

The theme of the Segment is BLACK MEDITERRANEAN: THE AFRO-ITALIAN CONNECTIONS, and it features a collection of 16 Nigerian and 16 Italian Poets, who worked on varied sub-themes deriving from the main thematic framework, including Trade, Migration, Religion, Politics, Trafficking among others. The poems will also be published in a collection by Book Craft, Nigeria.

The Nigerians and some of the Italian poets will be read/perform their work at the event on Tuesday evening.

The cross-generational Nigerian poets featuring in the project are:

Richard Ali, editor Sentinel Nigeria Magazine, Divan of the Four Winds; Gimba Kakanda whose works have been published in various local and international media, including the Indian Journal Prosopisia: An Anthology of Poetry and Creative Writing; Razinatu T. Mohammed, whose collection of short stories titled, A Love Like a Woman’s and Other Stories won the maiden prize for the Association of Nigerian Authors/ Lantern Book Prize 2005; Uche Peter Umez, an alumnus of the International Writing Program (IWP), USA, and UNESCO-Aschberg Laureate; Tolu Ogunlesi's poetry, essays and fiction have appeared in World Literature Today, Transition, Wasafiri, The Caine Prize Anthology and translated into Chinese, Italian, Norwegian and Turkish; Jumoke Verissimo, author of the poetry collection I Am Memory, and winner of the 2009 Carlos Idzia Ahmad Prize for a first book of poetry, second prize 2009 ; among other prizes; Ify Omalicha (late), author Amidst the Blowing Tempest, They Run Still & Now that Dreams are Born;

Tade Ipadeola, author of two volumes of poetry – A Time of Signs (2000), and The Rain Fardel (2005).

Others are: Ben Omowafola Tomoloju, dramatist, poet, singer and author of Jankariwo, Askari among other works, and producer, director of the yearly poetry programme, P.L.A.Y.; Olufunmi Aluko, winner 1st Prize for Poetry in the Poetry/Painting Competition of the Communion and Liberation Movement; Deji Toye’s collection of poems Millennial Liege is awaiting publication; Chiedu Ezeanah’s first book of poetry,, Solar Energies (Book 1 of The Tristia Trilogy), is soon to be published; Chris Abani is author of the collections Sanctificum (2010), There Are No Names for Red (2010), Feed Me The Sun - Collected Long Poems (2010) and Kalakuta Republic(2001) among others; Ogaga Ifowodo, poet and writer, teacher of poetry and literature in English at Texas State University, USA is author of three collections of poetry: Homeland and Other Poems, Madiba, and The Oil Lamp; and Odia Ofeimun whose numerous collection of poems include The Poet Lied (1980), A Handle For The Flutist (1986), Dreams At Work and London Letter And Other Poems (2000).

Also included in the collection of poets are the Nobel laureate, Prof. Wole Soyinka, Playwright, Poet, Essayist and Human Rights activist, and John Pepper Clark Bekederemo, renowned poet and dramatist and recipient of the Nigerian National Merit Award for literary excellence (1991).

The Poetry Project is coordinated by Alessandra Di Maio (Italy) and Jahman Anikulapo (Culture Advocates Caucus, CAC, Nigeria) for the Lagos Black Heritage Festival.

CONTACT INFORMATION:

Website: http://www.lagosblackheritagefestival.org/

Deadline: 20 March 2012

There are many blogs, and many bloggers out, there talking birth. Some are bloggers who blog about birth occasionally, while others talk birth regularly. Regardless of the frequency, they blog about the statistics, the interventions and the cesareans. They talk about the good births, the bad births, breastfeeding, the postpartum period and more. They discuss the how comes and the why’s, and there is no shortage of opinions on why you should and why you shouldn’t.

Amidst these many blogs are the few bloggers who might classify themselves Black, Mocha, African- American, Mahogany, Afrikan…. I call them Sista Midwives. Those few os us who in addition to blogging about birth often, and some exclusively, write posts that are written specifically for, about, and from our perspective as Black Women. One might ask…” So is birth really THAT much different for Black Women, when compared to Latina, Asian, or Caucasian?” I say yes, Yes, YES.

Sure the babies physically are born the same way. However… the joys and the pains of birth manifest differently in our lives; the spiritual, psychological, physical, emotional and cultural difference that exist are real and significant. It is just as important to note that as no two women of any ethnic group birth exactly the same, the birth stories and experiences of Black Women nationally and internationally are wide and varied.

In this first Carnival: Birthing While Black…A Historical Perspective, we invite you to submit an article or blog post that incorporates in some way, the history of Black Women giving birth. Write about the images that come to mind when you read the title for this first carnival. Tell us how your birth choices today are affected by your personal historical perspective. How do you think our birthing history affects the birth choices of women in our/your community? What unique bit of history can you share about the historical perspective of Birthing While Black? What gives you special pride when you look back into history and visualize Black Women giving birth? Submit an article or blog about anything you feel will highlight and incorporate our theme Birthing While Black…A Historical Perspective.

WHAT IS A BLOG CARNIVAL

A blog carnival is a collection of blog posts from a variety of bloggers on a particular subject, published on the same day. This blog carnival will be published/go live Tuesday March 27th. In addition to posting his/her article, each blogger provides links to all of the other posts submitted. Because of this, blog carnivals are a great way to learn about other fabulous bloggers.

They give you an opportunity to connect with others and have the potential to increase traffic to your blog. If you do not have a personal blog and want to participate, please emails us ASAP at BlackBirthCarnival{at}gmail{dot}com so that we can find you a host blog for your article submission.

GUIDELINES AND INSTRUCTIONS FOR SUBMISSIONS

We are looking for posts that are well written, informative, thought provoking, and relevant to the theme of the carnival. We prefer that you submit a new, unpublished post for the carnival however, if you feel you have the “perfect post” that has been previously published we will accept it.

Please email your posts to us at BlackBirthCarnival{at}gmail{dot}com no later than Tuesday, March 20th.

Be sure to put March Carnival in the subject line of the email and don’t forget to give us the title of your post. We cannot accept your submission without a title.

You will receive an HTML code with instructions via email no later than March 26th. You will need to place this code in your blog post so that you will link up with all of the other blogs participating in the carnival. For the success of the carnival, it’s important that you add this code. Please do not publish your post until after midnight on the 27th. We are excited about this new Blog carnival and we look forward to receiving your submissions.

CONTACT INFORMATION:

For inquiries: BlackBirthCarnival{at}gmail{dot}com

For submissions: BlackBirthCarnival{at}gmail{dot}com

Website: http://themahoganywaybirthcafe.wordpress.com

Date: starts 7 June 2011

WORDwarrior writing workshops in South Africa, Cape Town. The classes are aimed to help you explore and express on the page. Developed and facilitated by Vivian Warby, who has been a writer for 25 years and is constantly updating her studies in the field of psychology, facilitation and human behaviour. The next 6-week course course starts at 6pm on June 7 at 6 Spin Street, Cape Town. Please email or phone to book.

Creative WORDshop

This wordshop is an adventure into yourself and the world around you, and finding new and magical ways to express it on the page.

The classes are very small and the course material is geared to help you see your world - and your life - as an extraordinary place - to see it more creatively, with fresh eyes - and then to transfer this new information into the written word.

It will include playing with, amongst others:

* poetry,
* writing for self and writing for a reader,
* observation skills (all writers should know how to engage with people/environment so as to be able to write about different characters),
* using the senses to engage with the page,
* memoir/self writing.

It will also include exercises in the class that will, amongst others, unlock hidden aspects within ourselves and allow us to access that creatively by writing. It will also include “seeing and writing” outside the class environment in which you will engage with your environment and people with “new” eyes.

These are just some of the things that will be included on the course. They are great fun, and a way of setting time aside to dream and to write and explore and express.

Contact Information:

For inquiries: wordwarrior@mweb.co.za or call 082 920 7783

Website: http://www.wordwarrior.co.za/

Deadline: 1 October 2011

Back in 1990, food enthusiast and advocate K. Dun Gifford started a nonprofit educational organization called Oldways to change the way people eat. He believed that positive and practical solutions, grounded in science, traditions and delicious foods and drinks, would help address the threatening tsunami of chronic diseases.

Gifford invited others intrigued by his vision – scientists, chefs, restaurateurs, cookbook authors, and journalists -- to join him at the Oldways Table to address this important challenge. By documenting and educating others about the healthy “old ways,” Oldways and its partners have made strides toward changing the way people eat.

As a tribute to our founder and visionary who died in May 2010, Oldways announces the K. Dun Gifford Journalism Award, an annual prize to recognize and honor the important role of communications in changing the way people eat.

While journalism has changed in the past two decades with media consolidations, entry into the digital age, the advent of blogs and more, its influence on educating people everywhere about the importance of seeking out the joys and pleasures of good food and drinks is stronger than ever.

The Grand Prize Winner of the Award, selected by a jury including journalists Mimi Sheraton, Judith Weinraub and David Rosengarten, plus Dun’s daughter, Apple Gifford, and Oldways president Sara Baer-Sinnott, will receive a weeklong, all expense paid trip to a region of the world selected by Oldways and reflected in each year’s rotating subject focus.

The 2011 winner will visit the beautiful Mediterranean Region where he or she is free to explore the culture, food, and atmosphere of the location freely, with no expectations or assignments.

RULES: HOW YOU CAN BE CONSIDERED FOR THE K. DUN GIFFORD AWARD

Who is Eligible / How to Enter

* The competition is open to all reporters (print, online & broadcast), freelancers and bloggers.
* Each journalist may submit one (1) piece reflecting the designated subject (i.e., Mediterranean Diet in 2011). To be eligible for consideration, pieces must meet these criteria:
o Must be well-written / well-produced.
o Must have been published or aired during the period from January 1, 2010 through September 30, 2011.
o Must be related to this year's selected subject matter. The inaugural 2011 K. Dun Gifford Journalism Award will celebrate the Mediterranean Diet. Each year our subject matter will rotate to cover a topic we feel passionately about: Mediterranean Diet, Asian Diet, Latino Foods, Whole Grains, Pasta, Cheese, etc.
o Must reflect one or more of Oldways' founding principles: to be positive, practical, science-based, and tradition-based.
o Must celebrate the pleasures of the table.

Submissions

* Entries shall be labeled with name of article/segment, journalist’s name, affiliation, phone, email address, and street address. Broadcast entires should be submitted via CD or email
* Send entries by mail or email to:
o mail: K. Dun Gifford Journalism Award, c/o Oldways, 266 Beacon St, Boston, MA 02116
o email: GiffordAward@oldwayspt.org
* All entries must be postmarked or emailed by October 1, 2011.

Judging and Prizes

* Winner will be announced in December 2011.
* A judging jury including Mimi Sheraton, Judith Weinraub, Apple Gifford, David Rosengarten and Sara Baer-Sinnott, President, Oldways, will select the winning entry based on criteria above. The judges’ decision is final.
* The Prize is a fully paid, week trip to a location reflected in that year’s subject and designated at the sole discretion of Oldways. For our inaugural 2011 contest focused on the Mediterranean Diet, the winner will receive a trip (including coach airfare, accommodations, local transportation and a daily stipend to cover meals) to the Mediterranean region.

Other Important Rules

* By submitting an entry, entrants affirm that they are the rightful author/creator of their piece and that they have not borrowed, stolen or otherwise used copyrighted or intellectual property from another.
* There is no transfer of prize.
* Prize must be redeemed within a one-year period, starting upon award notification. Flight and accommodations to be arranged through Oldways. Blackout dates may apply as designated by our partner airline/hotel.
* Prize is taxable to the recipient, and the recipient is responsible for all taxes. Winner must provide his or her tax identification number to Oldways. Oldways will be issuing a Form 1099-MISC.

These are the complete and official rules of the 2011 K. Dun Gifford Journalism Prize.

Contact Information:

For inquiries: rachel@oldwayspt.org

For submissions: GiffordAward@oldwayspt.org

Website: http://www.oldwayspt.org

Deadline: 31 July 2012

Announcing a call for personal stories by American Muslim women and their relationships with the Hijab; these stories will be published in a book in the form of an anthology. This book is an opportunity for Muslim women to give their own narratives regarding Hijab and their relationship to it. For too long others have been speaking for the Muslim women and how they feel or ought to feel, whether they should or should not cover, how liberating or oppressive the hijab is. Share your personal story and let others know first hand how a Muslim woman feels about her own hijab.

Who are you? What brought you to wearing it? What is your process of considering to wear it or no longer wear it? What brought you to taking it off? Why do you choose to wear it with that particular style? What influences (personal, social, political, cultural, pop-culture, and religious) have shaped your understanding of hijab and how it has manifested in your life? How do other’s thoughts and stereotypes affect your relationship? We want you to describe, in detail, creatively your relationship with hijab.

This book will allow women to dispel stereotypes seen in media with our own humorous, dramatic, and engaging voices. Through our pieces, women are able to disable people from painting Muslim women in a monolithic brush. We hope to show the humanness and the complexities and nuanced experiences of the woman who has a relationship with the Hijab.

We are requesting that only American Muslim women who wear Hijab, have previously worn Hijab, or are contemplating wearing it submit for this call. We also request that the writing, although non-fiction, be written in a story format, written creatively and not so much an academic or historical essay.

SUBMISSION RULES: Work submitted must be non-fiction and autobiographical. Author must self-identify as an American Muslim Woman.

WORD COUNT: Word count for submissions must be between 1500 – 4000 words, double-spaced.

DETAILS: Please send your commitment to submit in the body of your email to hijabulous2012@gmail.com by June 1, 2012. Please remember to include:

· Name (full name)
· Age
· Location
· Contact information (e-mail address/phone number)
· Background (ethnic/racial and what Islamic sect you identify with)
· Please indicate whether you are a Hijabi, non-Hijabi, contemplating wearing a Hijab, convertible hijabi
Whether Muslim by birth or conversion

DEADLINE: Final story draft due by July 31, 2012. Please attach as a Word document.

CONTACT INFORMATION:

For inquiries/ submissions: contact Sabeen Shaiq or Sabina Khan-Ibarra at hijabulous2012@gmail.com

Deadline: 23 April 2012

Reporter, Khartoum, BBC Arabic

Department

BBC Arabic is the largest service within the BBC World Service, providing news and current affairs on Radio, TV and Online to Arabic speaking audiences in the Middle East and beyond. We are renowned for broadcasting impartial and accurate news and information which is strong on analysis and expertise. We follow the news wherever it leads. And we involve viewers and listeners in our output, giving you the chance to debate, comment and engage with others and the BBC. As a Reporter based in Khartoum, you will strengthen our work through providing expert, impartial coverage and analysis from the region.

Launched in 1938, we were the first foreign language radio broadcaster of the BBC World Service. Our Arabic TV Channel was launched in 2008, complimenting and enhancing Radio and to form a single, new, multi-platform offering. Independent research shows that audiences regard it as the most trusted, impartial and objective international radio news provider in the Arab world, with an established reputation for quality. BBC Arabic's interactive formats on all platforms provide a multimedia forum for informed discussion and debate. This means audiences to the BBC are exposed to the widest range of views and opinion on the big issues of the day.

Role

As a multimedia Reporter, you’ll supply timely, expert, authoritative and lively coverage of news and current affairs events in Sudan in a manner that is understandable and interesting for a non-specialist audience. Although broadcasting mainly in Arabic, you’ll occasionally broadcast in English and when doing so, provide material for the wider BBC. When breaking news occurs, we’ll expect you to alert the BBC Arabic Editors and file accurate and immediate on the spot reports. Advising BBC Arabic on news developments, briefings on Sudanese government policies will also be part of your role.

As you’ll be working in a live news environment, you’ll carry out all of these duties to tight deadlines and will take responsibility for prioritising your workload. You’ll check and advise against coverage when news agencies or other organisations’ reports are unreliable. Maintaining regular and clear communication with Arabic Newsgathering, you’ll assist by providing contact numbers and interviewees and set up discussion programmes.

Requirements

We’re looking for an experienced, talented and successful reporter and/or journalist who can originate material and edit the work of others and has excellent independent and balanced editorial judgement. You’ll have a thorough knowledge of Sudanese current affairs and have a good understanding of international affairs. You’ll supplement this with an in depth knowledge of the audience requirements, a good understanding of youth issues and the media interests of various age groups. You’ll also have an excellent broadcasting voice and presentation style and have fluent, broadcastable Arabic and English.

The ability to demonstrate 5 years membership of the Sudanese Journalists Union as required by the government of Sudan is essential. You’ll have proven skills in filing despatches, the ability to make radio and television packages and to convey story and programme ideas. With experience of demonstrating good interpersonal and team working skills, especially at a distance, as well as working independently is required.

CONTACT INFORMATION:

For submissions: apply via BBC's career site here

Website: http://www.bbc.co.uk/

Deadline: 30 April 2012

CALL FOR ENTRIES In Honour of Colonel John Ahembe Nenger (RTD)

15th Year National Memorial Session (1942-1997)

THEME: "Sustaining Nigeria's Governance on intellectual power"

The late Colonel John Ahembe Nenger (RTD) was born on the 10th October, 1942 at Uchi in Mbakor district of the former Gboko Local Government Area Council, now Tarka, to the family of Late Mr. And Mrs Nenger who himself had seen military service in the first world war. His involvement in the establishment of Tarka Local Government and the unification of the Tiv community with others in the then military dispensation was a battle of wit, which would have been a burden of unending attempts had he not been spurred by the spiritual national hope that some day we shall see the gleaming light at the end of the tunnel. As a military officer in the Nigerian Army, he stood not only on his professional grounds as an expert and a family bloke, he gave his all in the attainment of justice and unity among his troop and the country as a whole especially his wit at the battle field in bringing sanity to Nigeria's foretold disintegration during the civil war in 1967. This was the period when Colonel Nenger and many officers in and outside of his command laid down their lives so that Nigeria may remain one political entity, fighting the evils that are still represented in our societies today.

During his days as a military marksman of the Nigerian Army, he held the following appointments: Troop Commander, Field Sergeant, Platoon commander, Chief Instructor Depot Nigerian Army, Zaria, Commanding officer and Commander 6 sector, Commander 1 infantry BDE and the colonel G.S of the HQ 1 mechanical division and worked at different states in their reformation and bridging capacity including Niger as pioneer commandant with General Abdulsalam Abubakar as his deputy. He served at Benin, Kaduna, Asaba and many others with keen alacrity. He was also decorated and awarded with medals of honour for his commendable service offered our nation which included the

1. FSS
2. DSS
3. Congo medal
4. Independence medal,
5. RM,
6. NSM,
7. GSM to mention a few.

It is worthy to note that his

1. Exploits as a troop commander during the Nigerian/ Biafra civil war cannot be overestimated in bridging our nation as one.

2. Contributions to the development of Benue cement company PLC as a Director that has boosted the economic activities in the state and the nation as a whole

3. Mirrored as a father, grandfather and role model.

4. Firm spiritual inspiration and peace towards the end of his satisfying life

5. Contribution to the creation of Tarka local government council and the development of Uchi, Mbakor and Tiv land

6. Contribution to the establishing and equipping of military barracks across the country.

7. Contribution to the series of events that made Nigeria to remain as one corporate entity.

Colonel Nenger was a very fine and active military officer who was close to his troop and civilians who worked with him; he knew them all by their names. His skills in battle fields have reached far away land, this earned him the opportunity to be among the first and only batch of the Nigerian Army sent for training to the famous Forth Knox military training complex in the United states of America and has left a good legacy for his men, friends and family members to trail based on testimonies that have lasted for decades. Until his death on May 27th, 1997, he was a tool of reconciliation and humane construction whose dreams for nation building is to be celebrated as his memory lives on among his family members, friends and colleagues in, within and from the Nigerian Army.

To this extent, original and well researched articles are hereby invited from interested scholars, researchers and contributors for a proposed book, titled: Echoes of Power. This collection hopes to barricade the widespread-unending insanity that is fiercely consuming our country with a nightmare of pain and rejection of intention with the international community with unique essays and topics in broad areas of Leadership Power for Good Governance, Role Model, Parental Mentorship and Security

GUIDELINES FOR CONTRIBUTORS

Each article must be the original work of the author that has not been published anywhere else. Interested contributor is encouraged to send an abstract of not more than 250 words alongside the entry on or before 30th April, 2012.

i. Each essay should be accompanied by an abstract of about 150-250 words.

ii. Manuscripts, which should not exceed 20 pages in length, should be typed double-spaced with an A4 format and Times New Roman 12 point font size.

iii. Except when absolutely necessary, photographs and heavy graphic works should be avoided.

iv. Title of paper, the full name, address, current status and institutional affiliation of the author as well as email address and phone number, photograph and a short bio-data of contributors should be included on a separate page attached.

v. Footnotes to the text should be avoided. It is essential that documentation conforms to the new MLA style with parenthetical citations in the text followed by Works Cited at the end of the paper.

vi. Receipt of papers will be acknowledged.

viii. Acceptance of papers shall be based on positive reports by assessors and the timely execution of necessary amendments or corrections by the authors concerned.

All essays, correspondence and enquiries should please be forwarded to:

Terfa Danjuma Nenger
Public Relation Officer II
Association of Nigerian Authors,
Minna,
Niger State Branch
Email:terfa.nenger@yahoo.co.uk
Mobile Number: 08098006455

CONTACT INFORMATION:

For inquiries: terfa.nenger@yahoo.co.uk

For submissions: terfa.nenger@yahoo.co.uk

Date: 1 -31 March 2012

With the participation of about 30 invited countries worldwide and over 80 events planned around the world, will take place throughout the month of March 2012 the 2dn International Poetry Festival " Woman’ Scream" will be coordinated worldwide by the Women Poets International Movement (MPI) with the support of our good-will ambassadors, supporters, institutions, etc. This festival aims to bring together men and women poets, musicians, actors and artists and others in various countries, to pay a fitting tribute to the woman during the entire month of March and extending a cry of "Enough!" to the violence perpetrated against her. "Woman’ Scream" was conceptualized and designed by the Dominican writer Jael Uribe, President and direct Coordinator of the Movement based in the Dominican Republic.

This year's calling has been translated into five languages (English, Spanish, French, Portuguese and Italian) but has managed to include many other languages in different countries that have joined this calling, capturing a great reception in other countries not only speak Spanish as it was the case of last year festival.

The event not only for local and international poets (men and women), but there are also made from March 1st. to 31, all kinds of cultural activities such as: Music, theater, lectures, exhibitions, fairs, debates, among others. We have the support of cultural institutions, foundations, ministries, businesses, educational institutions and municipalities, as well known figures in the field of literature and art in their respective host nations.

Participating countries at the time are:

Dominican Republic, Haiti, Spain (Málaga, Murcia City, Eagles-Murcia, Granada, Barcelona (2 events), Toledo, Bajadoz-Extremadura), Mexico (DF (2 events), Puebla, Ciudad Victoria-Nuevo Laredo, Chihuahua, Monterrey, Mérida-Yucatán, Morelia-Michoacán, Veracruz, Tijuana, Jalisco-Guadalajara), Argentina (Buenos Aires (2 events), Santa Fe, Unquillo, Jujuy, Chacabuco, Patagonia-Rio Negro, Santiago del Estero and Rosario), Colombia (Barranquilla, Bucaramanga and Bogota), Peru (Lima, Trujillo), Panama, Chile (Valparaiso, Santiago (2 events), Ovalle), USA (NY, Miami, Seattle, California, Connecticut, Indiana), Guatemala (2 events), Venezuela, Puerto Rico (San Juan, Humacao), El Salvador (3 events), Cuba (Havana, Las Tunas), Ecuador (Loja), Costa Rica (San Jose), Uruguay, Bolivia (Santa Cruz), Brazil (Rio de Janeiro), Luxembourg, France (Paris (4 events), Guadeloupe, Martinique, Saint-Omer), Germany (Berlin (2events)), Kosovo (Prishtina), Africa (Morocco (Larache), Botswana-Gaborone, Maseru-Lesotho, Port Elizabeth-South Africa), England (London), India, Finland, Russia (San Petersburgo), Switzerland. This list continues to grow until March 2012.

The Women Poets International Movement (MPI) has its center of action over the network in its different aspects, with thousands of fans everywhere and a direct follow up to over 350 Latin American poetesses.

CONTACT INFORMATION:

For inquiries: mujerespoetasinternacional@gmail.com

Website: http://womanscream.blogspot.com

Flow Communications (PTY) Ltd delivers total communications solutions through compelling writing, elegant web and graphic design and appropriate technology.

We work with quality clients in diverse fields who require high-end journalistic skills in print and online media. In Cape Town, we have a strong portfolio of tourism clients, including Cape Town Tourism, the Table Mountain Cableway, the Two Oceans Aquarium, and many others. Our business in the Mother City is growing, and we are therefore looking for junior to middleweight journalist to join the Cape Town team.

Requirements

• An appropriate journalism diploma or degree essential (no students, please!).
• Excellent writing skills.
• Meticulous attention to detail.
• Experience working in web-based environments and in online journalism would be an advantage.
• Demonstrated, solid journalistic and writing skills.
• Highly computer-literate (internet, word processing); experience with working on back-ends of websites would be highly advantageous.
• Knowledge of and experience with e-marketing platforms (eg e-newsletters, Facebook, Twitter, YouTube) would be very beneficial.
• Good time management skills.

Applicants should be proactive, able to solve problems, organised and team-oriented.

City: Cape Town City Centre

Contact Information:

For inquiries: Maria Foundanellas - maria@flowsa.com

For submissions: Maria Foundanellas - maria@flowsa.com

Website: http://www.flowsa.com/

Date: 16 - 18 August 2011

Beyond writing, reporting and editing chops, thriving financially outside of a traditional newsroom requires one major skill that most journalists lack: salesmanship. Commercial considerations make many journalists squeamish because they are taught that their job is to inform the citizenry, tell compelling stories and bring truth to light. But like it or not, all of these goals require money.

In this free Webinar, “Sales Strategies for Freelance Business Journalists,” participants will learn simple things they can immediately incorporate into their daily work to help them identify great writing clients, win more assignments and earn a healthy living. You can attend a daily, hourlong, interactive session at either noon or 4 p.m. EDT on Aug. 16-18 and noon EDT on Aug. 19. To register for this free training, click here.

Attendees will learn how to broaden their view of available opportunities, present themselves and their story ideas in a compelling fashion, and bolster their freelance-writing income. Different surveys have pegged freelance business journalists’ annual income at $25,000 to $40,000 a year. Salesmanship is the key weakness that keeps many capable journalists from thriving outside of the newsroom, according to your instructor for this Webinar, Maya Payne Smart, freelance business journalist and founder of WritingCoach.com.

An informal survey in fall 2010 of 67 freelance business journalists by the Society of American Business Editors and Writers found that nearly three out of four freelancers said they are making less now than when they were employed full-time by one media outlet. Image by Flickr user sskennel.

WHAT YOU WILL LEARN

* Who is looking for freelance business journalists
* How to decide whom you want to work with
* How to consistently turn leads into clients

AGENDA

Aug. 16: Who Hires Freelance Business Journalists? — A wealth of opportunities is available for freelance business journalists in the traditional, new media, trade, academic, newsletter and custom-publishing fields. Too many freelancers think their options end with newspapers and consumer magazines.

Aug. 17: Branding and Marketing Yourself — Learn how to evaluate your brand identity and marketing messages. How much should it cost to market yourself? Check out these specific examples of how real freelancers have used 20 different tools (business cards, advertising, PR, direct mail, networking, trade shows, speaking, joint ventures, ezines, link exchanges, Google Ad Words, search engine optimization, affiliate programs, e-mail marketing, article marketing, blogging, LinkedIn, Facebook, Twitter and YouTube) to reach new clients.

Aug. 18: Closing the Sale — How do you get from a lead to a prospect to a customer to a client? How do you win repeat business? What are the best electronic options for storing and organizing prospect, customer and client data? How can you evaluate your sales and marketing efforts and improve results?

Aug. 19: Ask the Hiring Editors — Get your questions answered in an online panel discussion with editors and others who hire freelance journalists. Find out how to establish and maintain good client relationships.

YOUR INSTRUCTOR: Maya Payne Smart

After spending six years in the trenches as a freelance business journalist, Maya Payne Smart founded WritingCoach.com to help journalists, authors and other writers build profitable businesses. Her mission is to provide the tools, information and advice that freelancers need to thrive, from marketing basics to advanced business-building strategies. Smart teaches entrepreneurial journalism courses for the Society of Professional Journalists, the Donald W. Reynolds National Center for Business Journalism and other organizations for wordsmiths. With Poynter.org careers columnist Joe Grimm, she taught the Reynolds Center’s highly successful “How to Be an Entrepreneur as a Business Journalist” Webinars in 2009 and 2010. She serves on the boards of the Society of American Business Editors & Writers and James River Writers. She holds degrees from Harvard University and Northwestern University’s Medill School of Journalism.

“Business journalists are poised to succeed as freelancers because they can read financial statements and analyze business trends, but too often they fail because of an ingrained disdain for sales. They want to write and report, but haven’t worked up sufficient enthusiasm for market research, self-promotion and pitching,” she said.

FIRST-TIME ATTENDEES

Check out our Technology Help Page for connectivity requirements, helpful tips and an instructional video on how to access Reynolds Center Webinars.

ABOUT THE PROGRAM

This free Webinar is sponsored by the Donald W. Reynolds National Center for Business Journalism. If you have any questions about the Webinar or the center, please e-mail Executive Director Linda Austin or call 602-496-9187 begin_of_the_skype_highlighting 602-496-9187 end_of_the_skype_highlighting.

The Particulars

Instructor: Maya Payne Smart, freelance business journalist and founder of WritingCoach.com

Location: Online

When: Noon or 4 p.m. EDT Aug. 16-18 and noon EDT Aug. 19

Contact Information:

For inquiries: Linda.Austin@businessjournalism.org

For submissions: register here

Website: http://businessjournalism.org

Deadline: 30 June 2012

(Note: The contest is open to students, junior managers, and entrepreneurs from around the world who want to share their views on the changing structure and mindset of the workforce and the impact it will have on institutions and management.)

The Drucker Challenge Essay contest, organized by Peter Drucker Society Europe and now in its 3rd year, is about to raise awareness among young people of the works and ideas of Peter Drucker and a management philosophy that puts the human being in its centre.

Essays must have between 1.500 to 3.000 words and attempt to deploy your perspectives and experience that will be significant for an interested but primarily non-research oriented audience. Researchers are invited to participate in our «Call for papers», co-organized by Peter Drucker Society Europe and Management Research Review (Emerald Group Publishing).

The title theme of this year's Drucker Challenge is «Reinventing Work, Reinventing Organization» - a hot topic that will also be discussed at the 4th Global Drucker Forum in the context of Capitalism 2.0.

THEME & CONTEXT

In 1947 General Motors asked its employees to take part in an essay contest with the title theme "Why I Like My Job" An astonishing 174,854 workers at GM answered the call and submitted their essays. Peter Drucker, who just a few years earlier had systematically studied the inner workings at General Motors and had thereby "invented" the discipline of management, was one of the five judges who evaluated the essays and eventually picked the 40 winners.

Our jobs, i.e. the way we conduct our work and our overall concept of work have changed significantly, even dramatically since 1947. Peter Drucker anticipated and observed these changes - like the rise of the knowledge worker, the emergence of the entrepreneurial society, and the increasing need to "manage oneself" - and described them in detail in books like "Landmarks of Tomorrow" (1959), "The Age of Discontinuity" (1969), "Innovation and Entrepreneurship" (1985), "Management Challenges for the 21st Century" (1999), and "Managing in the Next Society" (2002).

Once asked about his prescience, Peter Drucker famously replied: It is in this spirit that we ask you: What do YOU see?

• How will the nature of work and the workforce look like a few years or decades from now?
• Will we still have the traditional corporations with their hierarchies providing the workplace for millions?
• How will SME’s be configured?
• Will all workers ultimately become knowledge workers?
• In which environment will knowledge workers conduct business? Still at a desk at the office, or rather from home? Will they work for one or for several companies and organizations - in a mixture of jobs and parallel careers?
• What will drive and motivate knowledge workers of tomorrow? A good pay? Or perhaps passion and purpose?
• To what extent will the traditional "employee society" evolve into an "entrepreneurial society"?
• Which will be the impact of these structural changes on companies, corporations and organizations and how can they best adapt?
• What role will social entrepreneurs and the non-profit sector play in the future? What regulatory power will governments and trade unions ideally have? And how will the education sector and, last but not least, business schools change - and indeed have to change - to address the challenges of tomorrow?

GUIDELINES

IMPORTANT DATES

• June 30, 2012: Deadline for essay submission
• Sept. 10, 2012: Authors of the winning essays will be notified about the Jury decision
• Sept. 15, 2012: Winners List published
• Nov. 15-16, 2012: 4th Global Drucker Forum

• File Type: Word for Windows: pdf
• Words: 1.500 - 3.000
• Font: “Times New Roman” or “Arial”, size 12, single line spacing
• Language: English
• Submission System: Please use the Electronic Submission Page

• Students
• Managers & Entrepreneurs

Co-authorship is permitted.

Please note the Drucker Challenge essay contest is geared towards a primarily non-research oriented audience (for research-based papers may we refer you to our "Academic Call for Papers". We suggest you write from your own background, experience and perspective, weaving together facts and figures with anecdotal evidence, and personal with general observations - similar to the way Peter Drucker himself used to write.

If you want, you can also envision and describe a day-in-the-life in the not too distant future to highlight the changes in our perceptions and practice of work that are already at work and beginning to shape the world that's to come.

JURY

• Lynda Gratton will serve as Head of Jury in this year's Drucker Challenge. She is Professor of Management Practice at London Business School, founder of the Hot Spots Movement, and was ranked 12th on the Thinkers50 2011 list of the world’s top 50 business thinkers. Her new book "THE SHIFT. The future of work is already here" " is for those who are keen to take charge of the future of their work. Watch the video with Lynda in the Financial Times;
• Deepa Prahalad Business strategist and consultant; author of “PREDICTABLE MAGIC: Unleash the Power of Design Strategy to Transform Your Business”
• John Peters CEO, GSE Research Ltd; former Chief Executive at Emerald Group Publishing
• Richard Brem Peter Drucker Society Europe, Project Manager Peter Drucker Challenge, coordinates the overall award program and facilitates the jury process.

There will be 3 rounds of judging. The jury process will be facilitated by Richard Brem, Drucker Challenge Project Manager.

First Round

During the First Round, a panel of curators will evaluate and attribute a score to each entrant’s Essay made up of scores based upon the below-listed criteria during the period beginning on July 1, 2012 and ending on August 2, 2012

Judging criteria:

A. Style, originality, passion for the theme
B. Formal structure of the essay
C. Logical coherence
D. To what extent does the essay deal with Druckerian themes?
E. How well does it address the theme of the 2012 contest?

The thirty (30) Essay submissions that receive the highest overall scores will qualify for the Second Round.

Second round

The thirty Essay submissions will be evaluated and attributed a score in early September by a panel of curators based upon the above-listed criteria, each of equal weight. The ten (10) Essay submissions that receive the highest overall scores will qualify for the Final round.

Final round

The ten (10) entries that receive the highest overall scores will be selected as the “Finalists.” Further, the Finalist that receives the highest overall score in each category will be selected as the First Prize Winner. In early September, the ten Finalists will be selected and notified by email. If a Finalist does not respond to the notification attempt within 4 days, then an alternate Finalist will be selected from among all eligible entries received based on the judging criteria described herein. Further, First Prize Winners and runners-up warrant that they are able to attend the public announcement on November 15, 2012. If one of them is unable to attend an alternate Finalist may be selected from among all eligible entries received based on the judging criteria described herein.

You can see a list of winners by mid-September, 2012, visiting www.druckerchallenge.org

PRIZES

Prizes are awarded to the two overall winners and the two runners-up in the two categories as well as up to 26 more winning papers. Depending on the quality and number of submissions, additional awards may be bestowed.

The overall winners in the students and managers/entrepreneurs category will be awarded:

• Money prize of € 1.000;
• Publications of essays on druckerchallenge.org and partner media;
• Free participation in the 4th Global Peter Drucker Forum on Nov. 15 - 16, 2012, including: participation in the Speakers reception on Nov. 14; all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue; up to three nights accommodation at the conference hotel; travel costs; an active role in a panel/workshop; Free membership to PDSA/PDSE in 2013

• Publications of essays on druckerchallenge.org and partner media;
• Free participation in the 4th Global Peter Drucker Forum on Nov. 15 - 16, 2012, including: participation in the Speakers reception on Nov. 14; all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue; 50% travel cost reimbursement; an active role in a panel/workshop; Free membership to PDSA/PDSE in 2013

• Publications of essays on druckerchallenge.org
• Free participation in the 4th Global Peter Drucker Forum on Nov. 15- 16, 2012, including: participation in the Speakers reception on Nov. 14; all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue; Free membership to PDSA/PDSE in 2013

• Free participation in the 4th Global Peter Drucker Forum on Nov.15 - 16, 2012, including: all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue

For inquiries: contact@druckersociety.eu

For submissions: enter the contest via the electronic submissions page

Website: http://www.druckerchallenge.org

Deadline: 30 June 2012

What is love to you? Write Film / Make Film / Distribute Film: a unique competition from The London Screenwriters’ Festival!

Get your script produced and get your movie released in cinemas. A unique competition that guarantees 50 scripts will be shot and 50 films will be theatrically released next year. Are you in? Read on…

Write Film…What does love mean to you? Write something extraordinary. Write a two page screenplay set on Valentine’s Night and enter it into our free London Screenwriters’ Festival Feature competition (closes June 29th). From the entrants, fifty winning scripts will be chosen by our judges. These scripts will then be released to the film making community on July 30th. Filmmakers around the world can then make films based on this rich vein of themed and loosely connected scripts.

RULES FOR SCREENWRITERS

• Above all TAKE ACTION AND START WRITING NOW!
• The deadline for submitted scripts is June 30th
• Scripts must be two pages or less and contain at least one kiss.
• By submitting, you will assign the right to produce the work into a film. You will assign distribution rights too. You will maintain all copyright in your work should you wish to expand it or rework it.
• You do not need to call your script ’50 Kisses’, you should give it a unique name.
• Expanded rules will be issued closer to the time.

Your script will be produced by filmmakers who may not have much money, so consider this in your writing. Remember, the film makers will choose the script they want to make after reading all 5o winning scripts.

FAQ

Can people from overseas enter?

Yes of course.

Is there a fee for this contest?

No, it’s 100% free. So please tell ALL your filmmaking friends.

Can I write and submit more than one script?

No, just one script per entry.

If I win, will my script definitely get made?

No – it will be made available on the website for others to read, and should filmmakers wish to, make it and enter into the film competition. If that does not appeal and you do not want your script to made available like this, please do not enter.

Can I use alternative formatting to fit my script on one page?

No. Please use standard spec script format, otherwise we will have no choice but to disqualify your script (just so it’s fair for everyone). If you’re not sure what the standard for spec scripts is, check out the format list.

Can I go over two pages just a tiny bit?

Nope, sorry – this is a two-page script competition. And don’t try any tricks like over-widening the margins, ‘cos our crack team of readers will find you out and hunt you down like the dogs you are. Or disqualify you, whichever is quicker.

Where do I send my script?

Please send your script to contests@londonswf.com in PDF format. Please ensure you have a TITLE PAGE attached to your two-pager, complete with the title of the script, your name and a valid email address. If we don’t know what it’s called or whom it’s by, we won’t enter the script into the contest. And if we don’t know how to contact you, we can’t tell you if you’ve won!

Can it be set anywhere?

Yes, though remember, someone will have to make this, so keep an eye on budget when writing.

CONTACT INFORMATION:

For inquiries: contests@londonswf.com

For submissions: send your script to contests@londonswf.com

Website: http://www.londonscreenwritersfestival.com

Deadline: 30 June 2011

Routledge press announces a call for papers for its upcoming volume, The Routledge History of Social Protest in Popular Music, edited by Jonathan Friedman, professor of History at West Chester University.

This collection will show the great diversity in form and content of popular music as a means of social protest over time, focusing largely on the American and British context but also including a sweep across continents. The musical movements under discussion in this volume vary in the degree of their intentionality and directness to protest, but there is a distinct thread-line in each, addressing societal wrongs, whether based on race, gender, or class, and offering solutions or comfort.

The volume will be divided into four parts:

1. Historical Beginnings--This part will offer a theoretical framework and historical background to 20th century popular protest music, by looking at developments in the 19th century through the years prior to the advent of rock and roll. Musical protest against discrimination based on race, gender, and class will be the guiding theme of this section.

2. Rock, Folk, War, and Civil Rights--This part will specifically address anti-war and pro-civil rights discourses in musical forms in the United States, not just in the 1960s but well before.

3. Contemporary Social Protest in Rock--This part will deal with how a number of genres in modern popular music have addressed the human condition, some with greater degrees of intentionality and effectiveness than others. Guiding questions in this section include: What are the criteria for effective social protest in these diverse musical genres? In what ways have artists in popular music advanced or set back the cause of human rights?

4. International Protest--This part will offer a scan of protest music across the globe, from Latin America to Africa, the Middle East, and Asia. What have been some of the shared themes in these vastly different settings? How has international protest music drawn on both indigenous roots and western influences in crafting its voice?

Contributors are welcome to submit a proposal relevant to one of these sections. Essays on 19th and early 20th century musical protest, postmodern theory, feminism, and musical protest, dance music, gay and lesbian protest rock, and international protest are especially welcome.

Please send a 100 word proposal plus a current vita electronically to jfriedman@wcupa.edu.

Jonathan C. Friedman, Ph.D.
Professor of History
Director of Holocaust and Genocide Studies
Main Hall 409
West Chester University
West Chester, PA 19383
610-436-2972

Contact Information:

For inquiries: jfriedman@wcupa.edu

For submissions: jfriedman@wcupa.edu

Website: http://www.routledge.com/

Deadline: 1 June (summer issue), 1 September (autumn issue), 1 December 21 (winter issue), March (spring issue)

(Note: Contrary Magazine publishes writers from throughout the world.)

Contrary® was founded in 2003 at the University of Chicago by students and alumni of Chicago’s Master of Arts Program in the Humanities. It was quickly embraced and has been abundantly nourished by graduates of the Vermont College of Fine Arts MFA in Writing program. It now operates independently and without a thought of profit on the South Side of Chicago.

GENRE GUIDELINES

Commentary — We favor commentary that delivers its message less through exposition than through artistry. The commentary we select is often lyrical, narrative, or poetic. But our view of the genre is broad. “Commentary” is our word for the stuff that others define negatively as non-fiction, nominally as essay, or naively as truth. Examples you can find in our own pages include “Plum Island” by Andrew Coburn, “Ascension” by Kevin Heath, and “A Spring Sunday” by Heywood Broun. Our commentary editor is Jeff McMahon.

Poetry — We believe poetry is contrary by nature, always defying, always tonguing the tang of novelty. We look especially for plurality of meaning, for dual reverberation of beauty and concern. Contrary’s poetry in particular often mimics the effects of fiction or commentary. We find ourselves enamored of prose poems because they are naturally contrary toward form – they tug on the forces of exposition or narrative – but prose poems remain the minority of all the poetic forms we publish. Please consider that Contrary receives vast amounts of poetry and that we can publish only a small percentage of that work. Please submit no more than three poems per issue. Our poetry editor is Shaindel Beers.

Fiction — We ask our fiction writers to imagine their readers navigating a story with one finger poised over a mouse button. Can your story stay that finger to the end? We have published long stories on the belief that they succeed, but we feel more comfortable with 1,500 words or less. Some people call those short-shorts. We just call them concise. We favor fiction that is contrary in any number of ways, but our fiction typically defies traditional story form. A story may bring us to closure, for example, without ever delivering an ending. And it may be as poetic as any poem. Our fiction editor is Frances Badgett.

Reviews – Contrary has a stable of regular reviewers, and we rarely add new ones. But we accept new reviewers when we can. Please note that payment is not guaranteed for reviews; in the past we have paid our reviewers annually when fundraising exceeded our obligations to the authors and poets who provide the original literary content described above. The maximum word count for reviews is 750. If you would like to review for us, please review our Rules for Reviewers first. Our Review Editor is Cynthia Newberry Martin.

The ‘Other’ category should be used only sparingly to submit work that can’t be described by any of the preceding categories, including hybrid forms and artwork.

SUBMISSIONS

Rights – Upon acceptance, Contrary acquires: 1) worldwide rights to publish in any or all versions of Contrary and other Contrary-affiliated media, including domestic and foreign, whether in the English language or translated into a foreign language, including any successor, similar or replacement versions thereof; 2) exclusive worldwide rights for a period of 90 days from the date of Contrary's first publication of the work; 3. non-exclusive perpetual rights to republish, store, syndicate or distribute the work or portions of the work in any language and in any country, and 4) the right to use your name and likeness in a fair and dignified manner and to publish information about you in connection with the advertising and promotion of Contrary and of the Work. 5) When exclusive rights expire after three months, the author is free to seek republication elsewhere, but Contrary must be credited in all subsequent publications. 6) All rights granted by this agreement are granted in perpetuity and applicable in all media including, but not limited to, all electronic media, internet, wireless or mobile platforms whether now known or hereafter created.

Payment – For original commentary, fiction, and poetry, Contrary Magazine pays $20 per author per issue, regardless of the number of works or nature of the submission. Reviews and Contrary Blog posts are usually unpaid. Payments will only be made through Paypal.

Simultaneous submissions – We accept simultaneous submissions, but you must inform us when submissions are simultaneous, and you must withdraw your submission immediately if the work is accepted elsewhere (you may resubmit any parts of your submission that remain unpublished). A submission constitutes an agreement to publish in Contrary under the guidelines on this page. Accepted works go into production immediately and may not be withdrawn under any circumstances.

Our deadline, response, and publication cycle – Contrary receives submissions throughout the year and publishes four issues per year, with the change of seasons. In Spring our deadline is March 1, and the issue appears with the vernal equinox on or about March 21. Following that cycle, our deadline for Summer is June 1, Autumn is Sept. 1, Winter is Dec. 1. We will report on your submission after the subsequent issue appears, on or around the solstice or equinox.

MANUSCRIPT GUIDELINES

1. Use only one space between sentences. Only one space is needed between sentences unless you are publishing on a typewriter. Typewriters are monospaced — they allot exactly the same amount of space for an i as they do for an m — and monospacing tends to visually obscure the transition from one sentence to the next. So for many years typing teachers have taught their students to use two spaces between sentences. But word processors, including the one you’re sitting at right now, are capable of proportional spacing — they allot about one-fifth as much space for an i as they do for an m — and a single space is sufficient to distinguish between sentences in a proportionally spaced document. Have a look at any professionally-produced book or magazine and you’ll usually find only one space between sentences.

2. Put your name on your paper. Include your name and contact information, including your email address, at the top of the document you attach. You’ve worked hard on your story, poem, or commentary; don’t forget to identify it as your own. This information will help us track your submission and get in touch with you quickly.

3. Include the word count of your submission at the top of the document you attach. It’s standard practice in publishing to declare length up front, and it’s a good idea to let editors know what’s coming.

4. Make sure your submission is free of typos and grammatical errors. We receive many submissions with these fundamental problems, sometimes in their opening sentences, testifying against the writer.

5. Name the file in a way that helps us identify it as your submission. Guess how many files we receive named “Contrary.doc.” Thousands. Use your last name in the file name: YourName.doc

6. If your submission defies our guidelines — for example, if you’re submitting a very long story or a commentary that consists largely of argument or exposition — please tell us why you think it belongs in Contrary anyway.

CONTACT INFORMATION:

For submissions: via their submission form here (scroll down to find the form)

Website: http://contrarymagazine.com

Deadline: 5 May 2012

This position is located in the United Nations Economic Commission for Africa and the successful candidate will report to the Head, English Translation and Editing Unit (ETEU) of the Publications and Conference Management Section (PCMS), Division of Administration (DoA).

RESPONSIBILITIES

Within delegated authority and as specified in the ETEU work plan, the Editor will be responsible for the following duties:

Editing texts of a specialized or technical nature in order to ensure accuracy, clarity, cohesion and conformity with United Nations standards, policy and practice as specified in the United Nations Editorial Manual, as well as with the ECA Style Guide and Publications Policy.

Consulting with author departments and carrying out research to clarify ambiguities and rectify substantive errors.

Checking of the English version against the language of the original draft, redrafting incorrect or unclear passages and translating and inserting any passage that has been omitted.

Providing authors or others submitting documentation with information on specific aspects of editorial policy and practice and assisting them in the preparation of manuscripts.

Performing other related duties as required.

COMPETENCIES

PROFESSIONALISM: Knowledge of editorial policies, practices and research techniques. Solid writing and analytical abilities with sensitivity to nuance. Ability to spot errors and inconsistencies in a text. Shows pride in work and in achievements; demonstrates professional competence and mastery of subject matter; is conscientious and efficient in meeting commitments, observing deadlines and achieving results; is motivated by professional rather than personal concerns; shows persistence when faced with difficult problems or challenges; remains calm in stressful situations. Takes responsibility for incorporating gender perspective s and ensuring the equal participation of women and men in all areas of work.

PLANNING AND ORGANIZING: Develops clear goals that are consistent with agreed publication strategies; identifies priority activities and assignments; adjusts priorities as required; allocates appropriate amount of time and resources for completing work; foresees risks and allows for contingencies when planning; monitors and adjusts plans and actions as necessary; uses time efficiently.

CLIENT ORIENTATION: Considers all those to whom services are provided to be "clients" and seeks to see things from clients' point of view; establishes and maintains productive partnerships with clients by gaining their trust and respect; identifies clients' needs and matches them to appropriate solutions; monitors ongoing developments inside and outside the clients' environment to keep informed and anticipate problems; keeps clients informed of progress or setbacks in projects; meets timeline for delivery of products or services to client.

EDUCATION

Advanced university degree (Masters Degree or equivalent) from a university or institution of equivalent status. Candidates for this position must have passed the relevant United Nations Competitive Examination for English Editors.

WORK EXPERIENCE

A minimum of two years of experience in editing within the United Nations.

LANGUAGES

English and French are the working languages of the United Nations Secretariat. For the post advertised, fluency in oral and written English is required. Knowledge of another official United Nations language is an advantage, as tested by the relevant United Nations Competitive Examination for English Editors.

ASSESSMENT METHOD

Short-listed candidates will be subject to a competency-based interview and other assessment.

SPECIAL NOTICE

- Staff members are subject to the authority of the Secretary-General and to assignment by him or her. In this context, all staff are expected to move periodically to new functions in their careers In accordance with established rules and procedures.

UNITED NATIONS CONSIDERATIONS

The United Nations shall place no restrictions on the eligibility of men and women to participate in any capacity and under conditions of equality in its principal and subsidiary organs. (Charter of the United Nations - Chapter 3, article 8).

NO FEE

The United Nations does not charge a fee at any stage of the recruitment process (application, interview meeting, processing, training or any other fees). The United Nations does not concern itself with information on bank accounts.

CONTACT INFORMATION:

For submissions: apply here

Website: http://www.uneca.org/

Deadline: 15 August 2011

Highbury Safika Media (Pty) Ltd is looking for a copy editor to join a team of three others working on a growing range of lifestyle magazines. The successful candidate should have at least two years experience in a similar environment.

Key Performance Areas are as follows:

• Copy-editing stories from text documents through to print-ready layouts, ensuring correct grammar, style and tone
• Thorough fact checking of all copy
• Writing catchy headings, captions and intros
• Cutting and tracking copy to fit page layouts
• Proofreading advertorial copy
• Contributing to the in-house style guide
• Maintaining the high editorial standard of the magazines

Applications and closing date:

Please email a motivation letter (max 200 words) along with your CV, outlining what makes you suitable for this position. Please note that shortlisted candidates will be required to take a copy-editing test.

Closing date for applications: 15 August 2011

If you do not hear from us within two weeks of the closing date, please consider your application for this position unsuccessful.

Requirements

• Three-year tertiary qualification in English, journalism, media or communications
• A love of the English language (and all its idiosyncrasies)
• A proficient writer and a stickler for detail
• The ability to work under pressure and a willingness to work overtime when necessary
• A proactive and motivated self-starter with a strong sense of responsibility
• At least two years experience in a publishing environment and knowledge of InDesign

City: Foreshore - Cape Town

Via: bizcommunity.com

Contact Information:

For inquiries: vacancies@hsm.co.za

For submissions: vacancies@hsm.co.za

Website: http://www.hsm.co.za/